Customer Reviews

Dear Catastrophe Waitress

5 star:		(77)
4 star:		(34)
3 star:		(25)
2 star:		(11)
1 star:		(6)

 

 

Like most veteran fans of Belle & Sebastian, I worried about this CD for months before it came out. Would the band evolve away from all the things we love about them? After learning that this album would be produced by Trevor Horn, my concern was that it would sound much too fake and polished--like a cheap plastic version of their old works.

B&S singer Stuart Murdoch said (on the band's website I think) that in making Dear Catastrophe Waitress, he and the band had an ammount of fun that hadn't been achieved in making any of their albums since Tigermilk. Now that I've finally heard this new CD, I don't feel Tigermilk, but I certainly do feel the fun.

The band has traded their darkest cynicism in for more mature responses and even life-affirmation at moments; exchanged their flat and shaky vocals for strong and deliberate melodies and more harmonies than ever; and as far as instrumental arrangements, the dizziness and some of the etherealness has been replaced by energy and sunniness. The evolutions are of course in a direction that we tasted in their last two full-length albums and last several EP's, but they are most fully realised in Dear Catastrophe Waitress. And not everything has changed: their wit, silliness, playful melodies, and the chamber pop aspect are as strong as ever.

Any long-time fan will find here grounds to be nostalgic for the the good ole familiar Belle & Sebastian heard on classics such as If You're Feeling Sinister and The Boy With the Arab Strap. However, I recommend loving the fact that their sound has not become stagnant, and embracing this new style as lovely and refreshing!

I've heard a lot of negative reviews about this album, proclaiming that the Belle and Sebastian of the late 90's are just a memory now. No more will B&S be something we listen to when we are in are darkest times, looking for someone who understands how we feel, and blah blah blah...

I will personally attest that I bought this CD while feeling a little down and listening to it really cheered me up. That's pretty cheesy and sentimental to say, I realize, but it's true.

This isn't a new Belle and Sebastian. The lyrics are as clever and sarcastic as ever, and Stuart's voice is still as haunting, but now he's got good news to bring us!

These are songs about love, hope, and God even. And the joy of which Stuart sings is reflected by stunning instrumental arrangements. More horns and strings than on any other full length make this album a complete musical experience.

Songs like "If You Find Yourself Caught In Love" and "Roy Walker" are so happy that they near sappy, but never take themselves seriously enough to cross any sentimental lines.

Two standouts for me on this album are two songs that find Belle and Sebastian taking some interesting chances musically. The song "I'm a Cuckoo" is a Thin Lizzy tribute that captures the style and substance of that band, with double-guitar riffs and speech-like vocals. "Stay Loose" has an obvious '80s sound, but not as derivative or clichéd as some bands who have been riding the New New Wave. This song is laced with elements of Bowie, and, in my opinion, later Blondie.

When a band like Belle and Sebastian has gotten to be closely associated with the doldrums, it's really nice to hear them have a conscious change in heart.

I love Belle and Sebastian! I have loved them from their early early days. If you can catch one of their rare live appearances, they're great, the songs sound better, have more bite, and will forever leave an imprint. Their strongest releases still remain "Tigermilk" and "If You're Feeling Sinister" but "Dear Catastrophe Waitress" is truly fantastic work from them, and signifies a welcome return of Stuart Murdoch to captain of the ship. This CD is well worth buying.

The songs here might not have quite as strong a pull as their angst-ridden classics of yesteryear soaked with tears and beauty, like "Judy and Her Dream of Horses, " "Get Me Away From Here I'm Dying", or "My Wandering Days are Over", but these songs are arguably more fun, and substitute soft fragile yearning for booming bitter rebellion. They are peppier, more swinging songs. Astonishingly varied, and impressively composed, the band is doing some rather interesting experimenting, pushing that musical envelope as far as it can go, and I like the direction they're going in.

"Step Into My Office, Baby" and the title track rank with their best recorded material. These songs have a wide bearth, containing fresh, up-tempo but serpentine orchestrations in the style of some of their singles such as "Jonathan David" or "I'm Waking Up to Us." They are blissfully theatrical, and dangerously catchy with a retro tongue-in-cheek-British-Invasion tint to them.

You can even dance to "You Don't Send Me." Try it! I'm not crazy, I'm not lying. The folkloric harmonies of the bold "Piazza, New York Catcher" are memorable. "Wrapped Up In Books" is a worthy pop ballad, right out of something that would have been on their "3...6...9...Seconds of Light" EP. "Lord Anthony" seems almost a tribute to their early work, the aching melodies that garnered them so many fans of the Dispossessed and Disillusioned, those with the glazed-over eyes, hanging off the monkey-bars and wondering when they'll be old enough to read Camus. You know who I mean. C'mon, you know.

Will you like the odd, dreamy rockabilly-influenced "Roy Walker"? It depends on your mood, I think. "Asleep on a Sunbeam", "I'm A Cuckoo", and "If She Wants Me" are always duds to me, like those songs on the latter part of "Fold Your Hands Child" that you always skip over. There's no particular reason why, but they bring the album down a bit, because there's such a contrast between these songs and the rest of the brilliant work being done on here. If these songs were on another band's album, they'd be my favorite songs on the CD. On here, I just can't pay much attention. They go on a bit. They're a bit flaccid. "If You Find Yourself Caught In Love" practically redeems everything on its own by virtue of its lighthearted infectious rhythms, traced with the ghost of the Carpenters and something maybe like the Monkees. Who knows. Yes, didn't you hear? Belle and Sebastian were accidentally frozen in a block of ice in 1963 and were finally de-thawed in 1995.

I know people were concerned the band would go all oino-boingo in the studio with producer Trevor Horn, but the CD has a snappy production to boast of, maintains their basic aesthetic (and self-respect, of course) and concludes with the wildly confusing "Stay Loose." This electro-reggae number will forever be known as the Black Sheep of Belle and Sebastian songs. Later on, when B&S rule the world, factions will form around the integrity of this closing track. Wars will wage, like something out of "Lord of the Rings", but at the end of it all, when the fires are cooling and the cities begin to re-build out of ash, at least there will be a couple of gorgeous melodies to hum to.

Dear Catastrophe Waitress is Belle and Sebastian's fifth studio album, and I have to say they're back to their best. Not many other bands make it to five albums and still can claim they're at the height of their powers (eg. blur, radiohead etc.). Certainly the writing was on the wall for B&S. They rose to fame on the strength of their incredible no-budget debut "Tigermilk", which no-one heard on it's initial release as part of a school project. They toured, gained a fan base, released only EPs and refused to talk to the press. By the time they released their second album "If you're feeling sinister" they had perfected the art of lo-fi orchestral pop. Sadly they were still dreadfully shambolic live. They then reached a cross-roads. Basically they were selling too many albums and becoming too famous to claim they were still "lo-fi" and "underground". From this crossroads they sadly took the wrong path, and the next two albums "The boy with the arab strap" and "Fold your hands child, you walk like a peasant" (despite having increasingly bizarre names) committed the sin of deception. The band spent too much time trying to sound like they didn't care, trying to pretend they were still recording in someone's bedroom, ever fearful that Mum was going to come in and tell them to "Turn that bloody racket down!!". Also Stuart Murdoch generously let some of his less talented band mates try their hand at songwriting. Not the best idea...
Anyway, after "FYHCYWLAP" got a decidedly muted response from fans and critics alike, the band took some time off to record a soundtrack to the (brilliant) Todd Solondz movie "Storytelling". I think this experience finally convinced the band they were too good to pretend to be bad. The next EP releases shone with a newfound sparkle, and added a large shot of Phil Spector-esque production. Also the band began to (gasp) rehearse their live show, and now in concert they are a gleeful explosion of virtuoso multi-instrumentalism, boundless energy and pre-schooler-in-music-class fun.
All this biography illuminates the necessity for this album to be different. Only by eschewing the lo-fi sound of old could they grow as a band, expand their sonic horizons and more fully realize their musical vision.
Album opener "Step into my office, Baby" swaggers in with the same vibe found on the "Legal Man" EP. With a lively horn section, cheeky double-entendres and chiming harmonies it serves notice that while they've previously claimed to "rule the School", they now mean it! And you'd better not try to stop them...
The title track carries on in the same chirpy vein, while "If she wants me" drops the pace but keeps the funkiness.
For me though the highlight of the album is track 4, "Piazza, New York Catcher". It's a throwback to the early days, just Stuart and his acoustic guitar and his long time obsessions with homosexuality, America and religion. It's classic B&S and it's a testament to how far the band have come that it sounds somewhat out of place here.
Other highlights include the upbeat "Wrapped up in books", the tribute to 80's Northern Irish TV game show "Catchphrase" host "Roy Walker" and the bizarre album closer "Stay Loose", that drags the B&S musical powers up into the 80's.
"Dear Catastrophe Waitress" is a great album by a great band that has learned to escape the shackles of their past (goodbye lo-fi, good riddance Isobel) and learn how to have fun again. It's just what the world needs right now...

...because this album is a strong indicator that Belle & Sebastian will soon find their footing and release another great album. The downside, of course, is that this one is merely good.

First, let me lay my cards on the table and say that I am one of those people who believes in what another reviewer calls "the holy trinity": Tigermilk, If You're Feeling Sinister, and Arab Strap. Those albums, to me, are classics that I will never put down. Unlike some B&S fans, I actually find their music better accompaniment for a sunny day than a rainy one.

As far as this album goes, it is a radical departure in sound from their previous releases. It is very pop-sounding and for the first time shows that B&S have enlisted the services of a professional producer. However, the lyrical content of the songs remains the same: witty, wry, and wistful by turns and terribly, terribly clever. Those longing for a taste of the old B&S will best be served by "Lord Anthony" (which is the one song I ripped to my iPod before selling this album), while new converts may find each track exciting.

I really, really tried to give this album a chance. I played it for a week while driving, grocery shopping, commuting, and reading. At the end of it all, I was no more endeared to the album than when I started and the songs had started to sound even more similar. I am not wishing that Belle & Sebastian keep the same sound forever, but I think this is a stepping stone to finding their new sound somewhere down the line. The most apt comparison that I can think of is to R.E.M. They made several classic albums and developed a loyal fan base, but I don't know anyone who thought "Monster" was a good album. It was merely a transitional album while they tried out new sounds. After a couple of missteps, they made "Reveal", which ranks among their best. I think B&S will evolve into something even more amazing in the future, but "Waitress" strikes me as an awkward growing pain.

Why the three stars? Because anything Belle & Sebastian makes is still a cut above whatever else is out there.

The first type works a part-time job at a bookstore then comes home to a basement apartment. (S)he sits on his/her twin bed wearing a mothworn cardigan cursing the sun for ruining what could have been an overcast and dreary day. (S)he listens to "The Queen is Dead" as (s)he writes in a journal about how celibacy and poverty are far better than selling out to the brain-dead callousness of modern society. If this is you, then you'll probably listen to "...Waitress" once, dismiss it, and put on "...Sinister" for the thousandth time.

If, on the other hand, you aren't adverse to doing things like falling in love, having children, finding a career, going to the beach, and believing in God, you'll have a blast with this album. You'll be relieved to find Belle and Sebastian back on track after the limp "Fold Your Hands, Child..." and glad that Stuart Murdoch has realized that things are better when he's in charge. You'll find plenty of old school introspection ("Lord Anthony", "Piazza, New York Catcher") while drinking in the perfect pop of "I'm A Cuckoo" and "If You Find Yourself Caught In Love". You'll be amply rewarded for sticking by a band that's not afraid to grow, experiment, and most importantly, grow up.

I have every album and single Belle and Sebastian have released, and trust me, they're at the top of their game here. Deal with it.

I chose this album nearly at random after a friend recommended the band to me. He knew that I adore a good tune (I'm a huge XTC fan) and thought I'd like B. & S.

He was right.

What I particularly like about this album is that it has a somewhat consistent and uniform approach to its excellent songs and production. (The lack of which I find sometimes annoying with a roughly analogous band like The New Pornographers.)

This might be partially credited to producer Trevor Horn, who has also and inexplicably produced albums by both Yes and Frankie Goes to Hollywood!

So, why do I like it? The tunes! The songs are well crafted, have thoughtful, clever lyrics, and they are eminently catchy. While seemingly simple combination is, in fact, rare and priceless. Based on this, I'm absolutely going to explore the rest of the B. & S. catalog, though I must say, the bar has been set high with DEAR CATASTROPHE WAITRESS.

I remember the first time I heard "Dear Catastrophe Waitress". I didn't know Belle and Sebastian had released a new album, so when my friend popped the CD into the car stereo, I was confused. It sounded like Stuart Murdoch, and the lyrics sounded Belle and Sebastian-ish... but there was a horn section. And later on, there was a kazoo. And the songs were... happy. I might even describe them as... bouncy. Who was this band, and what happened to the melancholy melodies and quiet character studies?

Trevor Horn is what happened. One would think that putting the producer responsible for inflicting T.a.T.u upon on the world in a studio with the masters of low-key pretension themselves would be a horrible idea, but somehow they managed to bring out the best in each other. Horn has managed to give personality to each song (earlier albums have been guilty, in my opinion, of making all of the songs sound the same by producing them identically), his arrangements add to already playful lyrics and are, in some cases, downright danceable.

No, not everything is elegantly introspective on this one. If you're seeking a musical companion for a rainy day, look into "Tigermilk". This CD is a whimsical and wistful reverie about relationships, adventures, and even a little war protest (although "If You Find Yourself Caught In Love" is one of the weaker tracks on the album, I give them credit for trying). They slip back into their old sound on occasion, with tracks like "Lord Anthony" but for the most part this is a total reinvention and a delightfully light and cheerful new direction for an already articulate and catchy band.

A long time ago, there was a band called Belle and Sebastian. They played tiny gigs, didn't talk to the press and recorded low-fi wistful albums with only one cool, literate singer. Then something happened. New elements of style began to creep into the band's canon; they started winning awards and entering the public eye; other lead singer/songwriters emerged and many of the old fans began to cluck their tounges and wonder what was happening to the band they loved.

If you're one of those fans that hasn't really cared for the band's post-1998 material, then this album might not delight you much - if anything it's the deathnail in the coffin of the Belle and Sebastain of old. That said, I'd be all set to trash it to peices if it weren't for one little detail: it's as smartly written, as tightly produced an a lot more fun than anything they've had out up to this point. In other words, it's actually quite excellent.

Oh so where do I start? Well, for one thing Stu Murdoch is doing the bulk of vocal duty here once again (Stevie and Sarah sing lead on one track each and harmonize often) and his wry outlook hasn't changed much: Step Into My Office Baby (also the first single to be lifted directly from a B&S record) is an innuendo laden romp about shagging the boss, the oddly titled Piazza New York Catcher contains some of his best lyrics this side of Tigermilk ("Elope with me miss private and we'll drink ourselves awake / We'll taste the coffee houses and awards certificates / A privy seal to keep the feel of 1960s style / We'll comment on the decor and we'll help the passerby / And at dusk when work is over we'll continue the debate / in a borrowed bedroom, Virginal and spare"). Two of the tracks (Lord Anthony and the title effort) are in fact songs written back in the mid '90s that are only now getting proper studio treatment.

But of course the standout feature here isn't the group's lyrics - if anything, that's the most consistent factor in their work. No, what's most interesting here are the sounds of the songs themselves, no longer limited to the chamber pop of old. There are, of course, elements of the signature B&S sound. Wrapped Up in Books recalls a track like I Could Be Dreaming, the delicious piano intro to If You Find Yourself Caught in Love could've been on Sinister (even after the song picks up tempo, it's not that much of a reach), and the aforementioned Piazza New York Catcher is actually a 4 track demo that's just Stu and an acoustic guitar.

However, we've also got a tribute to Thin Lizzy (I'm a Cuckoo), a VERY '60s flavoured (at least to me) bubblegum ballad (If She Wants Me) and, most interestingly, the nearly seven minute Stay Loose, which defies easy explanation, but recalls the best of new wave/bossonova of the early '80s.

Actually, that connection is rather ironic, since the buzz is Stay Loose is one track producer Trevor Horn didn't have a lot of input on. Horn has, of course, worked as a member of The Buggles and The Art of Noise, as well as working with bands like Yes, Frankie Goes to Hollywood and more recently TATU. He may seem like an odd choice to produce a Belle and Sebastian album, but when you hear the record, it fits like a glove.

Ok, ok. It's not a purist's B&S record, and it's not a return to form of any sort except perhaps in sheer quality. But after hearing it, I'm rather glad about that. I wouldn't want the group to be one of those that either produces the same album over and over until they become stagnant (Tigermilk and Sinister were great, but how many of them could you stand, really?) or tries to explore new directions but ends up out of their element (a direction it seemed they may be heading after Fold Your Hands Child... and Storytelling). With this record, I'm happy to report that they are, in fact, finding their footing very nicely in a range of new styles and ideas, and it actually makes me look forward even more to future Belle and Sebastian albums to see what they keep, what they throw out and what other interesting changes of pace they've got up their sleeves.

Four (and a half, but Amazon won't let you do that) stars, easy. Go pick it up. It's a pick-me-up for sure.

My first Belle & Sebastian album was last year's THE LIFE PURSUIT, which remains my favourite album of 2006 and, honestly, one of my favourite albums of all time. I then dug into the B&S back catalogue with IF YOU'RE FEELING SINISTER, THE BOY WITH THE ARAB STRAP, and the double-disc EP compendium PUSH BARMAN TO OPEN OLD WOUNDS. And while those albums impressed me - especially PUSH BARMAN - none of them, I felt, could quite come up to THE LIFE PURSUIT. They had the autumnal whimsy and cutting lyrical observation and a boatload of great songs, but they didn't have quite the same joyous energy. Then I got DEAR CATASTROPHE WAITRESS (2003).

(Note: shortly after getting DEAR CATASTROPHE WAITRESS I also purchased FOLD YOUR HANDS CHILD, YOU WALK LIKE A PEASANT, and have since also acquisitioned TIGERMILK. And while both are fine albums, they fit into the mold established above.)

There's a timeless quality to this music; it could've been recorded pretty much anytime in the last forty years, and yet it still sounds fresh, new, exciting. Because when Stuart Murdoch's brilliantly witty lyrics, beautifully whimsical melodies, and perfectly fey vocal delivery come together against a backdrop of soulful organ, jangling guitars, and bewitching male/female backup vocals, something magical happens. DEAR CATASTROPHE WAITRESS is the most ambitious B&S album I've heard yet, fleshing out the band's newly muscular (on a relative scale anyway) attack with big orchestral arrangements and a full, punchy pop/rock sound, courtesy master producer (and sometime Yes member) Trevor Horn. Highlights? How about the galloping "Step into My Office Baby"; the soul-pop "If She Wants Me"; the exuberant "I'm a Cuckoo"; the wistful character-sketch "Lord Anthony"; the near-epic, New-Waveish "Stay Loose"... my biggest gripe with this album is the somewhat garish golden cover artwork. Honestly. Otherwise DEAR CATASTROPHE WAITRESS is one of the finest collections of pop songs I've ever heard.

In fact, largely thanks to this album, Belle & Sebastian have finally ascended to my Top 25 Rock Artists. (That's right, I keep track of crap like that. Anal? But of course! Pointless? You betcha!) They've been hovering in the region for months now, but DEAR CATASTROPHE WAITRESS finally put them over the edge. I love it!